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Birthed from Arizona’s regaled Ascetic House collective, Body of Light is a dark synth-pop outfit comprised of young brothers Andrew and Alexander Jarson. What began as a vehicle for their exploration of noise and sound during their early teens has evolved into an established production over the last decade, as Body of Light continues to carve out their own style of complex, structured, and moving dancefloor electronics.

Their music is not only individually personal, but drawn from experiences shared between the two brothers – and calls on elements of new wave, freestyle, goth, and techno to create timeless and singular tracks without fear of trend or passing fashion.

On their third album Time to Kill, Body of Light refines their brand of cold and driving synth pop with a bold pallet of sounds and a focus on uncharted technique and purpose. Like the pale digital stare of the modern devices surrounding our daily lives, the album weaves stories of love and obsession in an era of technical bondage and fleeting exhilaration. Written over a period of intense and profound change, Time to Kill stands as a startling reminder of how important our existence truly is. Haunting keys, swelling pads, and punching rhythms score their work as Alex Jarson presents an alluring and romantic dialogue with confident projection. The title single “Time to Kill” kicks off the album with a merciless signature beat, complimented by distorted sample patterns against an infectious, moving bass groove

Black Truffle is pleased to announce the release of this genuine head-scratcher, the first collaboration between DJ/mixtape-compiler Kayo Makino and underground legend Tori Kudo. Originally created to be played between acts at the launch of Eiko Ishibashi’s acclaimed The Dreams My Bones Dream and then reworked and refined for LP release, the two side-long pieces are sonic environments constructed by Makino for Kudo’s piano to inhabit, or, as the LP’s credits suggest, a cinéma pour l’oreille in which Kudo’s piano plays the starring role. Beginning with a soothing field recording of crickets dramatically punctuated by smashing glass, the first side finds Kudo playing his way repeatedly through one of Satie’s 1897 Pièces froides. Best known to many listeners for his role as leader of the ecstatically shambolic rock unit Maher Shalal Hash Baz, Kudo’s performance of Satie’s whimsical yet haunting melody is alternately halting and fluid, delighting in the hesitations of unstudied technique and the subtle variations between repeated attempts. While the combination of Kudo’s piano and the background of crickets initially suggests a documentary approach to recording – as if the we are simply hearing incidental sounds creeping through an open window – things take an unexpected turn a few minutes in when Kudo’s piano is suddenly doubled. Layering two separate attempts at the same piece of top of each other, Makino’s unorthodox mixing blurs Satie’s original into a fog of stumbling echoes that becomes increasingly dreamlike as the chirping crickets are overtaken by pattering rain, German dialogue and traffic sounds. The second side begins in a similarly inscrutable vein, with snatches of birds and film music providing a gentle backdrop for Kudo’s improvisational variations on a chord progression that, as his performance builds over its twenty-minute duration, somehow begins to suggest the sadly swaggering grandeur of Mick Taylor-era Rolling Stones. Makino accompanies and eventually overwhelms Kudo’s piano with a bizarre layer of digitally processed voice and drums, stretched out into a disorienting haze before suddenly retreating to leave Kudo’s piano accompanied only by a barking dog. Seemingly unrelated to anything else being produced in the world of contemporary music, this is a striking collaboration between two unique musical personalities that bridges the mundane and the surreal, opening up a dream-space both haunted and hospitable.

Daughter of the mighty George Kerr, Sandy set the scene alight in ’82 with the explosive classic, ‘Thug Rock’. Badass slap basslines, zapping synths, ethereal pads and Sandy’s iconic rap were a timeless recipe of pure ‘80s, boogie-infused power that’s blasted from many a boombox, sung on all manner of club systems and sound tracked endless open road cruises over the years.

Released on the South Carolina label Catawba Records, two prolific duos blessed ‘Thug Rock’ alongside Sandy and co. Her father, who produced for the likes of Alice Clark and The O’Jays and Sugarhill wizard, Reggie Griffin, headed up the production and arrangement, with ever-dependable M&M aka John Morales & Sergio Munzibai taking the reins on the mix. Their combined talents can be heard in the tangible weight of the track, each element getting the space it deserves to facilitate that crystal-clear clout - from the huge bass riffs and sublime keys, to the punchy drums and Kerr’s infectious rap. An earworm if ever there was one!

Take to the flip to find the much in-demand dub version, echoing out choice snippets of Sandy’s rap to focus in more on that killer boogie-funk groove. Original copies are tough to come by in the UK, so an official reissue will be music to many an ear.

Lee ‘Scratch’ Perry’s return to his most spaced-out work, that marks his 2002 comeback album Jamaican E.T. The extra-terrestrial is back with some groovy reggae which creates a bridge between dub, roots and hip hop. But in the end it never ventures to far away from the traditional reggae. The album continues in showing his fascination with aliens, drugs and religion. His own voice is often multi-layered and contrasting with each other. It’s a wonderful record and it shows that even after all those years he was still capable in recording an album which stands out during the time of release.

Lee ‘Scratch’ Perry was a pioneer in the 1970s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

Jamaican E.T. is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Suitman Jungle is a creation of percussionist Marc Pell. The idea behind it is a man in a suit playing jungle music. He uses his voice, plays a standing drum kit and utilises live electronics such as an SPD-SX, a clunky office keyboard and guitar pedals.

Suitman Jungle is the Director of RBS (Regional Bassline Services), a company that provides a wide variety of sub & mid-range bassline services internationally.

'Liquid Lunch' is an album influenced by the sounds of London and daily routines. It was produced in OpenOffice spreadsheet processor and mastered in a cracked version of Microsoft's Powerpoint. Track four, 'Nil Cash Option', is a recording of two gig-goers who gatecrashed Brighton's Great Escape Festival by pretending to be accountants. Track six, 'Lift Going Up', is about how some days one's mood can be better or worse than on other days.

To mark his second artist album on his own Millionhands label in July, Tee Mango teases with a fantastic second EP from it featuring remixes from Hidden Spheres (Lobster Theremin, NTS), Kiwi (Futureboogie, Optimo, Life & Death) and Hubie Davison (Regraded).

The fantastic full length finds the UK artist stretch himself and serve up a dazzling array of soul-drenched, vocal-laced songs featuring his own singing and influenced by the likes of Prince and Bon Iver, alongside awesome gyuest vox from Detroit funk legend and former Funkadelic member Amp Fiddler.

Opening up EP 2, Tee Mango serves up a fizzing and arpeggiated electronic disco track, ‘Woo Hoo’ which will undoubtedly be rocking festival tents this summer. Irishman and Leisure System man Hubie Davison then steps up to the plate with a heart-warming, tripped out and twinkling organic house mix of ‘Down Down Down’, featuring warm oaky melodies and Mango’s fragmented falsettos.

Then comes a dazzling techno-not-techno mix of ‘Woo Hoo’ from Londoner Kiwi, an associate for labels like Correspondent and Optimo Music. This superb version keeps the galloping arpeggiated feel of the original but swaps the broken beat for a straight four to dizzying effect. Following that is acclaimed Lobster Theremin, Rhythm Section and NTS regular Hidden Spheres with a hip house basement re-rub of ‘Down Down Down’ with more of Tee Mango’s fragmented falsetto over a beat Prince would be proud of.

Finally, Tee Mango himself then steps out with the excellent balearic skit ‘Don’t Worry About the Rain’ with deliciously soothing Rhodes and synth whines topped with Mango’s vocals imploring us to ignore the weather.

This is a top package that bristles with brilliant club sounds for a range of different settings and more than whets the whistle for the forthcoming album.

* Metallic percussion contorts and splinters throughout the maximalised Second Freeze', whilst Simple As' courses with a transcendental bare bone rhythmic intensity.

* Randomer follows up releases on Dekmantel, Clone and L.I.E.S, by teaming up with Livity Sound regular Hodge for a collaborative 12" on the reverse Livity Sound label.

Known as the Queen of Morna, Cesária Évora brought the traditional music of Cape Verde to international recognition and became recognised as one of world music's great female voices. Raised in an orphanage, Évora started singing as 16-year-old in the bars and sailor taverns of the West African island and sang on cruise ships before performing in Portugal at the invitation of Cape Verdean singer Bana. After being discovered by Portuguese producer Jose Da Silva she went to Paris becoming a serious global star. . Madonna asked her to perform at her wedding and again for her birthday, but Evora turned her down both times
Influenced by Brazilian rhythms, creole flamboyance and the heartworn sadness of the blues, the "barefoot diva" was compared to Billie Holiday and found great acclaim in). A heavy drinker and smoker, Évora's romantic, humble visions of Africa led to a Grammy Award for Voz d'Amor (2003), but ill-health forced her retirement in 2010 and she died - aged 70
The Barefoot Diva, and she continued to always perform without shoes on, proudly proclaiming her humble roots. She is also remembered for her stage appearance, always modestly dressed, with a bottle of Cognac on stage and a cigarette in her mouth.
Cesaria Evora is the world's foremost singer of the morna, the indigenous style of Africa's Cape Verde Islands. The morna evolved as a hybrid of Portuguese fados, British sea shanties, and African rhythm, reflecting the island's history as a Portuguese colony and spot for British coal mining. Some say it was also influenced by the modinha, a Brazilian song form. Full of mournful melodies and slow tempos, Evora's music encapsulates the essence of the morna in its sadness, longing, and nostalgia.

Impossibly rare, private press, modern soul/boogie from 1980 Florida. Featuring the prized original version, a 2018 rework by the original band and a previously unreleased track from the original session! Cut loud.

First release on brand new record label, Pressure Makes Diamonds, run by Gary Johnson.

Released under exclusive license from Reggie Jahn & Jamie Baker.

After an 18 month hiatus, Secretsundaze relaunch their label with a flurry of activity. The first 12" as part of this new wave of material is a Secretsundaze artist EP, remarkably the first full EP on the label from Giles Smith and James Priestley having previously released a killer split 12' with Palms Trax back in 2017.

During this label downtime the boys have been busy releasing music with amazing labels and kindred spirits in Japan, London and Frankfurt: Mule Musiq, Phonica Records and forthcoming later this year an EP on Live At Robert Johnson, the label of the club very close to their hearts where they have been playing regularly for 10 plus years.

Having released 2 killer and totally unique EPs on Cold Recordings, the British-born, Berlin-based Eric Baldwin aka Cocktail Party Effect, lines up his first for Tectonic. Across these 4 dynamic 130bpm cuts, CPE demonstrates his sharp ear for creating tracks full of energising percussive twists, melding hard-charging, dynamic techno textures and while running wild with a UK sense of bass-heavy and percussive manoeuvres.

First up is the mesmerising and off kilter ‘Shattered Retina’. Setting the mood for the EP it begins with a hypnotic chime sequence, before rising in tension to release the contained frenzy of drums and swaying bass it held back..

Following on then is ‘Triops’, which breaks out from it’s regimented bleeps in the intro to a broken rhythm that picks itself up just as it’s falling over again.

Flip for ‘When The Gun Claps’, which takes a more UK-percussive tone, rolling out a tribal dance floor beat as the vocal sample cuts in and out. Last up is ‘I Feel Sick’, which takes things the hardest mood on the EP and is an absolute banger! Hard, broken techno with sub shaking bass; twists and turns from the offset.

“I’ve absolutely hammered all 4 of these tracks over and over - I love this EP! Cocktail Party Effect is smashing it at the moment, no doubt.” Pinch

DJ Support from: Martyn, Pinch, Madame X, Loefah, Lamont & many more!

As one of Jamaica’s leading record producers Arthur ‘Duke’ Reid embraced the new reggae sound. London based reggae giant Trojan Records brought together a dozen of his finest works under the title “Greater Jamaica Moonwalk Reggae”. If features many of the biggest Jamaican hits from 1969 to 1970. Tommy McCook & The Supersonics is one of the main artists to be found on this record. The 12 tracks bringing the best Jamaica had to offer during the heydays of their musical days.

Greater Jamaica Moonwalk Reggae is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Wicked roots reggae double sider by Ras Midas with "Good Old Days" featuring I-Roy on the A-side and Melchizedek on the B-side.

Music by Davide Luciani (guitar, organ, synth and electronics). Recorded and mixed in Berlin in between 2017-2018 by Davide Luciani. Mastered by Simon Scott at SPS Mastering. Illustration by Anna von Hausswolff.

Biography:

Davide Luciani is an Italian electronic music composer and media designer, based in Berlin since 2011. He has a background in the Italian noise-rock scene with projects dating back to 2005. "Calming Counts" is Luciani's first solo release.

His solo practice places acoustic instrumentation into analogue/digital synthesis to create works that bridge the territories of noise, drone rock and minimal music. His approach to electroacoustic music – which he voices with guitar, piano, strings, accordion, synthesisers, VST sorcery and loopers – has a distinct harmonic hue, with layered repetitive patterns and instrumental polyphonies.

As sound and visual designer he has directed and curated a wide variety of projects from soundtracks to space design. His collaborations have been hosted at highly regarded institutions and venues such as Venice Biennial, Berlin Atonal, Ström Festival, Bayreuth Festspiele, Museum Omero, Tresor and MUSMA.

Luciani was a member of the label/platform Dromoscope and has collaborated as visual artist with Grün (Daniele de Santis) and Claudio Rocchetti. In 2014, together with sound artist Fabio Perletta, he co-founded Mote, a multidisciplinary design studio whose practice addresses arts and music.

Official repress of Love & Regret, the long out-of-print 2012 debut album from LA-based post punk outfit Cold Showers.

Cold Showers, a unit formed in Los Angeles, CA in 2010, fuses the brash power of their shoegaze predecessors with the smoky compulsions of accessible synth pop standards. Cold Showers fits comfortably within the dusty catalog of Factory Records, if only for their modern interpretation of the romantic isolation that signified that long past era. Piston-precision rhythms and angular guitar patterns that drive along songs such as “Alight” and “BC” sit comfortably alongside the opposing raucous-tinged tracks such as “I Don’t Mind” and “Seminary”. This is the pervasive pop mode against which Cold Showers cast themselves. Versatile, memorable and romantically wistful are all common themes that listeners relate to when diving into Love & Regret.

Looking back on the past seven years and the album’s ultimate impact, Love and Regret created and solidified the band’s stark identity in a single, well crafted release. While their early singles on Art Fag & Mexican Summer introduced listeners to Cold Showers simply as a band, Love & Regret debuted the group as something to be taken more seriously. Songs that are intended to be personally unpacked with the listener’s pleasure and heartbreak as personal reminders of more innocent times.

It had taken him almost three years to record, but in 1985 Jake Hottell finally finished his debut solo album, Break The Chains. Inspired by his opposition to fracking, anger at government corruption and a series of profound spiritual experiences, a hundred copies of the album were pressed and given away to radio stations, friends and local business interests in Hottell’s home state of New Mexico.



The album would have remained an obscure footnote in musical history had it not been for the efforts of DJs Danny McLewin and Jeremy Spellacey. Between them, they tracked down Hottell to hear his story, offering the former electronics engineer and Nashville-based music producer the chance to get his music to a whole new audience. Now, some 34 years after the private press edition was produced, Spacetalk is giving Break The Chains a full release for the very first time. Hottell began recording the album in 1982 after reading Your Body’s Many Cries For Water, a best-selling book by Dr Fereydoon Batmanghelidj about the health benefits of clean, purified water. Remembering the poisonous, methane-laden water that came out of his mother’s taps in the 1970s – a by-product of extensive fracking activity in the area around the family farm – Hottell wanted to create a set of tracks that registered his concerns, reflected his recent spiritual experiences (many of which he still finds it difficult to discuss today) and offered a meditative listening experience.



The resultant set is suitably cosmic and emotive, with Hottell cannily fusing gentle drum machine rhythms and dreamy synthesizer motifs – influenced, he says, by a love of the contemporaneous new age output of former jazz label Windham Hill Records – with his own glistening guitar passages, which sit somewhere between the homespun riffs of country music and the classical guitar solos that have long been a sonic staple of Spanish styles such as Flamenco. Many of the tracks have stories attached. “Horizon” features a profound spoken word vocal from local man Darald McCabe – whose homemade purified water helped Hottell recover from serious illness – while “El Rio dos les Delores” was composed after discovering that fracking was taking place on a local Native American reservation. “The Truth Is All I Want”, meanwhile, reflects Hottell’s growing exasperation at the extent of corporate greed and government corruption in the United States.



This new edition of Break The Chains has been painstakingly re-mastered from the original master tapes, while extensive new liner notes shed light on the remarkable musical and personal experiences that inspired Hottell to create an obscure, overlooked classic.

A collection of contemporary reggae, dub and electronica, which marks a broadening of musical horizons for the label beyond reissues of lost African guitar dance music. The LP covers a range of Jamaican inspired sounds, including roots reggae, dancehall, dub and jungle, which may act as a taster for potential future releases.

Due for release in July 2019. Interest for airplay from Tom Ravenscroft and Gideon Coe from BBC 6 Music. Steve Barker plans to review for The Wire magazine

The tail end of 2018 saw the release of Oberman Knocks’ third album on aperture records, Trilate Shift, which was included in The Moderns Vol.2  written by Kevin Press (a book dedicated to the world’s great, currently active, avant-garde artists).

2019 sees the release of Remhex Coyles EP – neither companion piece, nor follow-up to Trilate Shift, but a standalone set of tracks with a different collective energy to them. Knocks steps out from the experimental room and heads towards a different kind of space, one that's less claustrophobic and subterranean – a place that’s more structured and in places more melodic than his usual output, but one where he still brings his own distinctive sound.

Before heading into the sound production for a new film, his first theatre piece and next album, this five track EP shows an electronic musician in total control of every last detail. The surprising shift of focus in these tracks displays an alternative approach to his output whilst retaining the usual attention to sampling and manipulating sounds, combining them with a more regimented logic and groove than is usually apparent.
These undeniably enjoyable tracks show a desire to have a more playful immediacy, with a different sound palette and a drive to forge Oberman Knocks’ sounds into something that would be as likely to be played out as listened to at home.

It is well known that talent never guarantees any success in the music industry. This sentence summarizes the story of The 9th Creation, one of the best soul, funk, disco and boogie band to make it out of Stockton, CA.

Founded by J.D. and A.D Burrise in 1970, the 9th Creation went on for almost two decades and released 3 albums and half a dozen singles that regularly flirted with the US Charts, getting them featured on Soul Train in 1975 and allowing them to tour North America and Japan a few times over. 9th Creation regularly shared the bill with Irma Thomas, James Brown, The Whispers, The Sylvers, The Main Ingredient, Con Funk Shun and many others.

The music that J.D, A.D Burrise and their 10-12 band members created was a perfect combination of West Coast raw soul, disco and funk that resulted in a religious fan following across the globe.
To this day, The 9th Creation has been sampled by Pete Rock & C.L. Smooth, Artifacts, Quasimoto, 3rd Bass, Basement Jaxx and many others.

9th Creation was undoubtedly one of the greatest funk band of the Seventies.

Past Due Records is proud to officially reissue the 9th Creation's essential full lengths and singles, carefully remastered and all in their original artworks. 'Mellow Music' is the most sought after 7' from 9th Creation. This single marks the band's new direction and was announcing an album that remained unreleased (more on that later). This single is a boogie funk gem and both tracks are pure monsters of heavy bass, synth, horns and massive vocals. A must have that'

Long time underground innovator Illja Rudman returns with "Sagittarii", a fourth fantastic studio album and his second on Bearfunk.

As boss of both Red Music and Imogen Recordings, as well as being a skilled DJ and diverse producer, Rudman has been an integral part of dance music for years. The Croatian effortlessly veers from electro to disco to house with his own colourful sense of melody and club-ready grooves and has done so on more than 70 releases on labels like Classic, Rong, Electric Minds and Is It Balearic Recordings. This superb new album lands just a year after

his last, "Paradigma", and is another subtle evolution in his style but one that continues to deal in authentic analogue textures with flashes of throwback funk and disco gold and a slick sense of boogie.

Things open up with the glistening future-retro chords of "Dreamscape Planet" a quick,upbeat cut that is ready made for dancing in the sun with its majestic strings and nimble basslines. "Cosmia (Regal Mix)" is another bit of engagingly urgent disco funk with clipped drums racing along beneath heart melting chords. The stylish "If I Keep My Eyes Closed (Mezzanine Mix)" slows things down, with a snaking bassline and wallowing chords making for more cosy and intimate listening while "Synthia 2000" is a more playful cut with wiggling bass and withering chords that bend space and time as you get down and boogie.

The gorgeous glossiness continues with another tight bit of disco-funk lushness on "6th Floor Entrance (Guardians Gate Mix)" and "S.O.S. Flight Theme" serves up some rugged bass lines and mad xylophone patterns on top of corrugated drums that will get any club in a spin this summer. Closing things down in the tropical tinged exotica of "Techniques & Tactics (Nocturnal Mix)" with its long legged drums, blissful Balearic vibes and superb sunset stylings.

This is an album that brims with cosmic disco energy, emotion and excellence from start to finish.

Archie Hamilton’s Moscow Records invites Mennie for his first solo release of 2019, featuring two spacey cuts in the form of ‘Proxima’.

Joining Moscow Records following releases on Poker Flat, Infuse and Rawax, Mennie is a regular DJ at Florence’s Tenax Club when not performing across Europe including appearances in the UK, France, Germany and Spain. Alongside Julien Sandre, the Italian producer is also one half of Jarau and together they’ve released on labels like One Records, Visionquest and Pleasure Zone.

Kicking things off, ‘Proxima’ injects acid squelches into an atmospheric background which builds to include a wonky bassline laced with echoing distorted vocals. Flip over and ‘Do That’ utilizes a similar otherworldly aesthetic, with metallic effects, electronic bleeps and rattling drum patterns, all guided by a funk infused bass.

Exactly a year on from 'Travel Light', we release the final single from Children of Zeus' debut album. A dinked 7" single, containing one of the stand-out tracks from the album, 'Hard Work', and a re-vocalled Lover's Rock version of 'The Heart Beat' (a demo version of which appeared on 'The Winter Tape' from Christmas 2018).

'Hard Work' is a term than can easily summarise the past twelve months in the life of Tyler Daley and Konny Kon. They've been busily touring Australia, New Zealand, South Africa, Europe and the UK twice in that time, as well as rocking shows at countless festivals across the continent.

'Travel Light' was named "Album of the Year" by Complex Magazine, BBC 6 Music's Huey Morgan and Rinse FM's Jyoty, as well as taking 2nd place at the Worldwide Awards (for which their label First Word was named "Label of the Year") and numerous high-placing's from Fact, Mixmag, The Vinyl Factory, Juno, Bandcamp, Mi-Soul, Wordplay & Piccadilly Records, amongst numerous other notable selectors, blogs, tastemakers and musicians, with fans far & wide from Radio 1's Benji B to Chase & Status, Jazzy Jeff to Lily Allen, Stormzy to Goldie.

The depth of styles & genres included on 'Travel Light' confirmed that Tyler & Konny are not easy to put in a box. Their initial inspirations of Manchester pirate radio in the 80's/90's all make up to form the sonic tapestry of hip hop, soul, r&b, broken beat, jungle and, in this instance, reggae.

One of the album's biggest surprises was this now-anthemic track, 'Hard Work', which sees Tyler Daley effortlessly ride a one-drop riddim drenched in positivity, and is a highlight in their live sets, as anyone who's witnessed will testament to. Meanwhile, the flip-side transforms the quiet storm vibe of 'The Heart Beat' into a heavy, heavy dubwise track, creating an essential accompaniment and fitting sequel to the original lick.

Pressed on a limited edition rustic JA-style dinked 7", this one is, of course, essential for any discerning collector, fan and DJ. Released on First Word Records, July 12th 2019.

Featuring Sly & Robbie, Alpha Blondy, Marcia Griffiths, Horace Andy, Morgan Heritage, Gregory Isaacs, Inna De Yard, Alton Ellis, Ken Boothe, Jimmy Riley, and many more.

Back in stock!!


Reissue of this HEAVY Ghana disco / rap / boogie tune..., BIIG one!! Comes with a instrumental cover version by Welsh group Drymbago on the flip..

Soundway Records reissues Free Youth’s long sought-after 1985 single “We Can Move”, their only release - fully restored, remastered and available for the first time on digital and 12” vinyl. “We Can Move” is the first known iteration of Ghanaian hip hop, emerging at the dawn of ‘hip-life’ (hip hop meets highlife).

Free Youth comprised three main members: Terry “Sir Robot” Bright, Lenny “Nii Addy” Dimple, and Abednego “King Abed” Ayim Bright. In the early 80s they began performing in clubs and parties across Accra, with friends and other dancers occasionally joining them on stage – including Reggie Rockstone, who later went on to find commercial success.

In 1985, the band were approached by a producer and invited to record at a local studio. Without having written down any music, Terry, Lenny and Abed sang the parts and beatboxed the rhythms to the session musicians prior to recording. Out of this session came “We Can Move”, a blend of hip-hop and Afro-funk with a proto disco-boogie beat, punchy trumpet riffs and melodic rapping.
Included in the Soundway reissue is an exclusive instrumental cover version of “We Can Move” from Welsh ensemble Drymbago. This replaces the original B side track “Freedom Video Centre”, which was an advertising jingle for a business associated with their former producer.

Balmagie Jam Rock consists of 16 unreleased dub mixes from the dub master King Tubby. All the original songs were written and produced by Roy Cousins from the Royals. Featuring a virtual who's who of reggae from the classic era -- Sly & Robbie, Lloyd Parkes, Pablo Black, Lloyd Charmers, Ansel Collins, Earl Lindo, Tony Chin, Geoffery Chung, Ernest Rangin, Earl 'Chinna' Smith,Bobby Ellis, Tommy McCook and many more. With the voices of Prince Farl, I Roy, The Royals, and Baba Dread. Recorded between 1966 and 1979 at Dynamic, Channel One and Randy's studios, mixed and voiced at King Tubbv's.

This third release of Black Lotus on Florian Meindl's FLASH Recordings enqueues in her reflection on space and physics and hypnotizes the listener in her usual kind.

According to ancient and medieval science, Aether is the material that fills the region of the universe above the terrestrial sphere.
In mythology it is seen as the personification of the heaven - the soul of the world and element of all life. An undetectable substance.
The invisible material thought to permeate all the empty space in the universe. The pure air that the gods breathe in the heavens.

Kicking off with the opening theme, with its wild synth hook and sweeping ride, ÔAetherÕ induces a solid trip on the dancefloor.

The second track explores deeper territories with its dynamic cymbals, spacey 303 textures and monotonous dark mood.

Distant Signal is a supernatural story about incessant galactic bleeps, accompanied by heavy kicks and a highly energetic percussion.

Safe trip!

Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades.
While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.

Jerome Derradji & Past Due Records are proud to present “Head Games (The Story of Larry Akles & CBM Records)”. Released on a DLP / CD with printed inner sleeves (or booklet) that include never seen before pictures of the band and a story written by Jacob Arnold. Artwork is by the mighty Al Kent. As a companion to the compilation we are also reissuing the incredibly rare and sought after “Head Games” 7” with a picture sleeve.

This compilation includes every song released by the Chocolate Buttermilk Band, remastered and reissued for the first time.

Needless to say, this is an essential release for fans of Boogie, Soul and Funk as the Chocolate Buttermilk Band releases are known to fetch thousands in the collectors market.

In Larry Akles own words, “This girl in Atlanta told me one time, she said ‘Larry, I heard on the radio that Chocolate Buttermilk was going to be on the show, and I told my girlfriend, Oh, it’s gonna be onnnn if Chocolate Buttermilk on there, ’cause whoever come behind them, they got to go!’” He continues, “When we hit the stage, boy it’d be some fire. We wouldn’t have to get warmed up. We’d start off hot!”

After presenting Detroit Swindle’s sophomore album High Life in 2018, we felt it was the right time to serve you up a tasty selection of remixes from all over the world and all over the sound palette. We’ve got some dub and boogie from Australia and the Netherlands, classic deephouse from Detroit, dark and dreamy deephouse from the UK and some high energy house from Germany. This set of remixes comes from 5 artists we hold in high regard and have made a serious impact on their part of the scene; some recently and some already a long time ago.

We invited Dutch techno -plot twist alert!- legend Steve Rachmad to come up with a re-interpretation of ‘Yes, no, maybe (feat. Tom Misch)’. His Sterac Electronics remix actually has nothing to do with techno but is an uplifting modern boogie version of the already funky original. Glimmering electronics, some added harmonics and a tight 80’s groove is what this version is all about.

The A2 is reserved for Cinthie, who took the high energy afro funk track ‘Call of the wild (feat. Jungle by Night)’ and turned it into a full on house frenzy with solo’s all around and a groove that just keeps on going and going.

The A side is completed with a remix by Jura Soundsystem, who has impressed many of us with his balaeric influenced synth-boogie, and dub on his own label ‘Isle of Jura’. Here, he chose to remix ‘High life (feat. Lorenz Rhode)’ and has done an excellent job in re-imagining the track into a tamed down, dreamy dub.

On the flip, there’s Matt Karmil’s take on one of the album’s beatless tracks ‘Ketama gold’. He goes in deep with some dusty drums and an arrangement that keeps on building and building, keeping the chord sequence from the track’s outro as a main loop and adding subtle FX, toms and acid hits and a final delivery where electronic cowbells up the energy level by a notch or two.

We finish off the compilation with a moody deephouse re-interpretation of ‘Ex machina’ by Detroit legend Gari Romalis. The twisted machine funk of the original is craftfully replaced by a dusty house loop, dreamy pads and smart usage of the original’s drum effects to build momentum.

This remix package brings a lovely new chapter into the story of ‘High Life’ and we hope you’ll enjoy these reworks as much as we do.
Yours Sincerely,

Maarten & Lars.

Warsaw-based Bartosz Kruczyński returns as Earth Trax to Phonica’s main label, following on from last year’s well received ‘L’Avventura’ 12”, this time in collaboration with regular production partner Newborn Jr.

The pair have created a string of brilliant records together, such as ‘Sax & Flute’ on Rhythm Section, ‘Mirage’ on Les Yeux Orange and ‘If You’ on Shall Not Fade. Bartosz also has a growing solo discography under his own name, along with a variety of aliases such as The Phantom, Pejzaz, and of course; Earth Trax.

The A side here leads with the title track ‘Truth’, in which rose-tinted reminiscences of the golden early 90s era of House music echo, with dubbed out diva vocals cascading over wide snares, 303 acid lines and that almighty bassline, appearing through shimmering delays and reverbs in a vision of bygone nights at the Hacienda or Shelleys. Next up is the ‘Back Alley mix’ or a traditional dub mix - everything you need from the main mix but less vocal and more plays on THAT bassline with dub effects.

On the flip, as its title suggests, ‘Old Way, New Way’ bridges the gap, combing the same bassline driven Chicago house stylings with the deep new age textures that have characterised previous releases from the pair, flutes and pads floating sweetly above jacking drum grooves, reminiscent of mid-90s Italo House. Finally, ‘And Then’ fulfils the transformation, with ethereal late night pads enveloping a more lofi rhythm section and more flute for a more subtle, end of night Don Carlos ‘Alone’ feel.

Detailed, smart, commanding, groovy. These are just a few words to describe the Assorted Pieces 2 compilation. This strictly in-house production by Friendship & Decadence contains tracks from such producers as Kade, Mirage Man, Poly Sone and Waltteri. Which is a intriguing mixture indeed.

Poly Sone’s “Home killing is taping music” is a rugged and fast paced take on nordic techno. As the track was recorded on a four track cassette recorder the saturation on this cut is immense, yet pleasant. Definitely not your everyday cheapo lo-fi tune.

Deep, quirky and playful bottom heavy roller, “Calm” by Waltteri has a hint of spanish roast in its blend. Waltteri’s debut on the imprint can be perfectly paired with a fun loving crowd during midnight or even around early mornings. Psychedelic multipurpose tool.

Kade’s raw and unconventional track “Sanko” is a treat for the adventurous mind. Haunting arpeggios and vocal chops will give you the creeps, while the unrefined saturated rhythms will sooth you into a trance. Eccentric and hypnotic dance music.

“This track never starts” by Mirage Man lives by its name as it is a slowly unraveling and cinematic number. Regardless of its thick lower end, in the club environment this track might send the restless to acquire a beverage from the bar, but for the grounded minds who enjoy ambient this just might be the ticket. Play it yourself and see what happens.

Limited press of 150 pcs. 12” record includes a download code.

SAFT is proud to present a re-release of a sought after disco classic from 1979. Carlos Romanos' 1-2-1 is without a doubt one of the highly regarding dancefloor classics from the heydays of the genre. With a length of 5.30 this brass infused stomper is club friendly, positive and drenching with Latin influenced percussion sounds.

As the original version has been available as a 7" as well as a 12" release, the new edition will appear on a 12" record only and includes a hypnotic 'Sotofett' formula dub on the B-side that spans ten minutes and maximises the percussive nature of the original to create a psychedelic voyage that builds and builds whilst generating a threatening atmosphere around the brass, vocals and perc hits of the original.

A roaring guitar gives 1-2-1 a bizarre but signature Sotofett treatment which shouldn't be missing from any adventurous record collection. 1-2-1 including DJ Sotofett's formula dub will be available from all specialised retailers from the summer of 2019.

Ten releases in, and STILL far better than the rest

In a more raucous mood, it seems Bitter End have pre-empted the summer of debauchery ahead of us by unleashing their Sweetest exorcism yet...
ITCHICRICKITCH is the tweaking weirdo in the corner, the unsettling presence that invariably unites the room in the simplistic joy of judgement free release.

'PRINCESS' appeared on the flipside of a frankly far more regal diva originally on GALL005, here she's the smudged mascara version, much stroppier and not due home 'til way after sunrise.


As always, limited and LOUD

After capturing audience awards festivals like SXSW and the Los Angeles Film Festival, the word is out that Kashmere was the greatest high school band - ever. Their story is tucked in between slabs of hard 70s funk, soul, and jazz: Conrad Johnson transformed a bunch of rough-hewn high schoolers into a band that could compete with any in the nation – professional, or otherwise. Forget high school bands, we’re talking about sixteen year old kids who would give the JBs a run for their money! The Kashmere Stage Band released a total of eight albums and three 45s on Johnson’s Kram label. The band’s best tracks are collected here. Producer Eothen “Egon” Alapatt features an expanded booklet with updated liner notes and essays, more rare photos and ephemera, and a download card which contains the B+/Flying Lotus produced Texas Jewels: The Making Of Texas Thunder Soul short, a recently unearthed 1973 documentary on the band, and a 1972 performance.

Dapayk & VARS show their full potential on their first album released on Ritter Butzke Studio.

For over two decades now „Dapayk“ is on of the driving forces of the international Techno- and Electronic scene. With projects like „Dapayk Solo“, „Dapyk&Padberg“ and cooperations with many well-known artists around the world the Berlin based producer always searches for new ways to express his creativity. Now in 2019 he is turning over a new leaf with „Dapayk & VARS“ where he creates a mixture of Deep House, Indie and Minimal Electro combined with the extravagant voice of VARS.

VARS as a young and aspiring artist who already had a lot of experience in Indie- Rock and other genres as a singer joins the group with his youth and uncompromising passion to take new paths regardless of what old habits dictate.

Together they create a distinctive sound that is bridging the gap between old and modern fashion, neglecting but still accepting genres and fuse what is different. Their album shows those concordances and discrepancies in a refreshing and thrilling way.

* Another brand-new hot-shot from the ever-active Partial Records label, arriving in the shape of a production from Dreadsquad aka Marek Bogdański, who has been active on the reggae / dub / digital / dancehall scene for almost 20 years, collaborating with the likes of Tenor Fly, U Brown, Ward 21, El Fata, YT, Radikal Guru and more.
* This `real instruments’ steppers riddim features Dub Princess on vocals who although a relative newcomer, has already made her mark over the last few years, with a number of collaborations.
* Mixed in fine style by Dougie Wardrop at Conscious Sounds studio, London.

Regis is the founder of one of techno’s most influential and
uncompromising labels, Downwards Records. His inimitable hard
techno sound, and collaborations with Surgeon as British Murder Boys,
have cemented his legacy as the definition of the Birmingham techno.
Luke Lund is one of the Finland’s fastest rising young composers, with
the ability to move seamlessly between the marshes of dark hop to the
silkiness of deep techno. His own Terranean Recordings label has
been fearlessly documenting the Finnish underground and beyond
since 2010. King Pin Frankie is treasure untold – a live Regis recording
from New Year’s Eve 1997 in Chicago. Pounding classic minimal TR
909 with an accelerating/decelerating arppegiator make this A side a
serious find, with distorted synth moving platforms occurring as the
track winds out. TIP! Luke’s Scourge is an electronic composition
masterpiece – pinning a straight kick underneath a shifting snare,
leaving the question open – is it techno? Is it dark hop? Whatever it
may be, the bass underneath tells it big and fills up a subwoofer.
Limited Edition Print by nem0

Written back in 1966 by Smokey Robinson, the Motown hit ‘Get Ready’

saw global success through The Temptations and has withstood the test of

time for over half a century. Now in 2019, production guru Prince Fatty has

stepped up to the plate with a who’s who of reggae and dancehall royalty

to give the record a dub rework.

LP Beatuful Ambient/LIstening ALbum by EVEN BRENDEN from Norway. Following his debut ‘Auto’, Chmmr delivers a new collection of musics to inspire half an hour of your life. The sophomore album features (in order of appearance): Prefab naiveness. Idle saturdays in early fall. Inaccurate weather reports. Lead arias for courtship. A planet. Romantic stage pianos. An ode. Post LAN party mood. All in all a fitting backdrop for any function that’s about opening yourself up, be that in solitude or in good company. This record is meant as an imperative to the listener: Try new things. You may regret it. It might backfire. Do it anyway

• Recognised by fans and fellow recording artists, as one of the World’s most influential and best ever guitarists.
• This tribute is frequently confirmed when Hank regularly features high on the polls that determine the greatest guitarists of all time.
• Initially known as the lead guitarist of The Shadows, the band that evolved to become the UK’s biggest ever selling instrumental group,
Hank Marvin defined the sound of a generation.
• Hank was the very first guitarist in the UK to own an iconic Fender Stratocaster – when Cliff Richard imported the guitar from the US
exclusively for Hank to play.
• As a solo Artist, Hank Marvin has released 16 albums, with Top 20 albums spanning almost 50 years; 1969-2017 (to date), in a long and
successful career lasting more than 60 years.
• Hank Marvin, as a solo Artist, as well as part of The Shadows, with and without Cliff Richard, has spent approximately 900 weeks on the
UK Albums Chart.
• This ‘Gold’ 180g Heavyweight Gold Colour Vinyl LP set, covers Hank’s solo career, in this 15-track set.
• ‘Gold’ includes guest appearances/performances from Cliff Richard, Brian May, Duane Eddy and Mark Knopfler.

(2LP gatefold 180gr pressing) The album is a collaboration between Brazilian artists Lula Côrtes and Zé Ramalho, a wonderfully off-kilter record full of fantastic hooky and strange tunes that range from full-on freakouts to quiet pastoral numbers displaying the entire range of 1970s hippie Brazilian musician culture.